I’m a little burned out after completing The Glam Rock Murders, and I’m also working on the second edition of Monkee Music (which should be out in a couple of weeks), and have been doing a lot of admin stuff with my books — I’ve moved the ebooks from Smashwords to Draft2Digital, and have been fixing all the formatting of those (Smashwords has — or maybe had? — terrible formatting standards that made for a poor reading experience. D2D is *much* better), and in two cases I’ve also fixed the actual text — in the case of the first Beach Boys book there were quite a few egregious typos which somehow got past four different people’s proofreading, while in the case of my book on the Kinks I used some phrasing which I didn’t realise when I wrote it is a mildly transphobic phrase, so I’ve fixed those.
(It’s funny, actually — a lot of the comments I got on that book were about how it was full of that political correctness gone mad that they have nowadays, but checking over it I winced slightly).

Any posts I do make in the next week or so will be on Mindless Ones, as we’re doing a Mindless Decade celebration of the site’s tenth anniversary this month, but once I’ve stopped having to do this big chunk of writing-business admin and work on non-blog writing — probably next week — I’ll have more blogpost-writing energy. I’ll try to get some linkblogs up between now and then.

I doubt they’ll read those books. There’s not a massive overlap between the audiences for my music writing and my other stuff (which is not to say there’s *no* overlap — there’s definitely some) and most of those comments seemed to be from people who were specifically Kinks fans but not even fans of the other music I write about.
And much as I love the Kinks’ music, there is a certain… Brexityness about some of it that attracts Gammon Men in a way other music I love doesn’t. A looking back at a past British golden age and a suspicion of modernity that’s not really there in any of the other things I examine.